Umbrales auditivos aplicados a la composición

Abstract

This work seeks to expand the vision of the threshold concept related to the compositional process, since constantly, it tends to be related exclusively to the field of psychoacoustics in a very fixed way, which limits in excess the creative possibilities that can be used. In order to enlarge this narrow vision, two complementary postures are taken: the first is the psychoacoustic vision itself, in which several types of thresholds and some associated phenomena are evidenced; the second is a set of ideas from several disciplines that show how the delimitation of human listening is a task that is still in progress and therefore, to think about the concept of threshold postulates referring to it as definitive and immovable barriers, may not be the optimal thing if it is desired to extend the range of options to develop a musical piece.